CONGRATULATIONS TO ALL NOMINEES AND WINNERS OF MATILDA AWARDS

Shake & Stir is one of Australia’s leading contemporary theatre companies, formed in 2006, and creating bold and exciting mainstage and in-school productions that tour Australia and New Zealand. Shake & Stir has built a company that doesn’t just entertain existing audiences with their spectacular main house productions that display a consistent level of excellence, but the company also cultivates a new audience, creating the artists of tomorrow through their in-school programs.

BEST FEMALE ACTOR IN A LEADING ROLE: WINNER

Amy Ingram, Cinderella (QPAC and Myths Made Here)

Amy’s intricately detailed portrayal of Ashley in Cinderella was a highlight of the year, with her impeccable comedic timing and raw vulnerability she had us in the palm of her hand from the moment she walked on stage. We were laughing, crying and cringing with awkwardness as we followed her journey through the reimagining of Cinderella. Ultimately, due to Amy’s skill and level of excellence as an actor, we were left with a lasting connection to the character and her world. This achievement speaks volumes to the strength of Amy’s performance and the execution of a fresh, contemporary take on an iconic character.

SHORTLIST

Helen O’Leary, The Confabulator (Helen O’Leary)

Nelle Lee, Jane Eyre (Shake & Stir and QPAC)

Kate Wilson, The Revisionist (Refraction Theatre)

BEST FEMALE ACTOR IN A SUPPORTING ROLE: WINNER

Susie French, Girl’s Guide to World War (Musical Theatre Australia)

Susie’s down-to-earth, unpretentious characterisation was executed effortlessly, and captured the passion, dedication and sheer determination of a woman well ahead of her time. Embodying the individuality and inimitability of Dr. Lilian Cooper, Susie was able to entertain and educate while keeping us eating out of the palm of her hand. From the moment we met this full-rounded character, it was clear we were in excellent hands as we watched Dr. Cooper’s story unfold.

BEST MALE ACTOR IN A LEADING ROLE: WINNER

Richard Lund, Kelly(Ad Astra)

In a highly competitive field, Richard’s performance of Ned Kelly gave us a fresh, multi-faceted and finely crafted portrayal of a character we all ‘know’. A high degree of excellence was evident in a performance that was a glorious mix of danger and humour, strength and compassion with the underlying fierce loyalty of the Ned Kelly we all expect. Richard executed the role with confidence, consistency and a high level of skill, as he sat naturally and comfortably in this character, hooking us into his unique world and keeping us hanging on his every word.

SHORTLIST

Thomas Larkin, Cinderella (QPAC and Myths Made Here)

Tama Matheson, When the World was Wide(Camerata and QPAC)

Bryan Probets, Hydra (Queensland Theatre and SA Theatre Company)

BEST MALE ACTOR IN A SUPPORTING ROLE: WINNER

Thomas Larkin, Death of a Salesman (Queensland Theatre)

Thomas Larkin’s touching performance of an iconic character, Biff, in Arthur Miller’s modern American classic, presents a unique challenge for an actor. How to breathe life into such a well-known role? Thomas addressed this issue head on and successfully delivered a deeply moving portrayal while speaking to contemporary issues of masculinity, expectations and fulfilment. His physicality and vocal work were both excellent, executed with individuality and assurance. As Biff’s fractured relationship with his father came into sharp relief, the craft and skill of the actor were utilised to full effect, expertly embedded in the character, delivering a performance that was compelling and deeply affecting.

SHORTLIST

Pacharo Mzembe, L’Appartement (Queensland Theatre)

Michael Mandalios, Magpie (Playlab, Metro Arts and e.g.)

Jackson McGovern, Death of a Salesman (Queensland Theatre)

BILLE BROWN AWARD – BEST EMERGING ARTIST: WINNER

Gina Tay Limpus, The Tempest and La Silhouette

A physical actor, director and theatre-maker, Gina is being recognised for her compelling talent and strong skill set, that transfer seamlessly to any context. Still in the early stages of her professional career, in her work in both The Tempest and La Silhouette, Gina displayed consistency and a high level of execution in her work, both vocally and physically. We look forward to seeing more from Gina as her career develops.

SHORTLIST

Sui Ensemble, La Silhouette

Ella Macrokanis, Daddy Long Legs

Michael Mandalios, Magpie and The Revisionist

BEST DIRECTOR: WINNER

Daniel Evans, Cinderella (QPAC and Myths Made Here)

While the term auteur usually only relates to film, Daniel Evans’ individual style and sure hand ensures the term translates easily to theatre. Daniel gives each of his productions his personal and unique stamp and in the instance of Cinderella, the direction is so distinct and individual that Daniel’s signature was evident from the opening moment. This was tight, compelling storytelling, executed flawlessly and delivering a consistent level of excellence, eliciting beautifully nuanced performances from the actors.

BEST MAINSTAGE PRODUCTION: WINNER

Death of a Salesman (Queensland Theatre)

It is potentially challenging to bring something new to a play that is over seventy years old, but Queensland Theatre’s production of Death of a Salesman managed to bring the Arthur Miller classic into the present without changing what made it a classic in the first place. This production delighted both existing fans as well as educating a new generation about what earns this work a place at the top of the list of the great American plays. As the death-rattle of American optimism echoed through the land of the free market, the audience followed Willy Loman as he lost himself in the halcyon days of the past, at the same time opening a window for the audience to reflect on America then and now. A withering commentary on capitalism, this production displayed excellence in every element, bringing an American classic very much into the contemporary conversation.

SHORTLIST

BEST INDEPENDENT PRODUCTION: WINNER

La Silhouette (Sui Ensemble)

It’s not easy to choose the recipient for the category, given the vast number of independent shows viewed throughout the year. With La Silhouette, Sui Ensemble showed that they are not only an ambitious company, but also a company with an abundance of raw talent that enabled them to devise a work of immersive theatre that has a very high degree of difficulty accompanied by a high level of excellence in terms of execution. Skilfully weaving together local queer histories that are both beautiful and sad, both true and imagined, La Silhouette is a unique and truly independent work that envelops its audience whole and refuses to pull any punches from euphoric start to climactic finish.

SHORTLIST

Kelly (Ad Astra)

Throttle (The Farm)

Girl’s Guide to World War (Musical Theatre Australia)

BEST MUSICAL OR CABARET: WINNER

Fangirls, a bold new musical, delivered a genuinely fresh, loud and proud female-centric production that brought the experiences of young women front and centre on our stages. First love meets fan culture in this hilarious musical work that combines pop culture, touches of rave and the soul of choir, to cleverly explore the brave new world taking place right now through the online media experiences of young people. Acute, edgy, and very sharp direction and command of each element from Paige Rattray and her team made this production of Fangirls a highlight on stage this year, embraced by female and male audiences alike, and reminding us to never underestimate teenage girls.

SHORTLIST

Yank (Understudy Productions)

Daddy Long Legs (Passion Productions)

When the World Was Wide (Camerata and QPAC)

BEST CIRCUS OR PHYSICAL THEATRE WORK: WINNER

Inside Out(Tammy Zarb and Company)

A compelling new physical theatre work, presented as part of Bleach* Festival, Inside Out stood out in what was a highly competitive field. In this large-scale, site-specific theatre work, Tammy work utilised an excellent ensemble of performers to lead audiences across the grandeur of the Abedian School of Architecture Building at Bond University, exploring what was conceptualised as a ‘cathedral of concrete.’ The ensemble explored the sloping pathways, mezzanines, curved stairwells and sloping sculptural frames, before leading the audience outside to its wooden forest. This was a cinematic-like, yet highly theatrical experience that was enhanced by live vocalists, a beautiful soundscape and an intelligent and unique lighting design.

SHORTLIST

Tectonic(Dancenorth)

Throttle(The Farm)

You & I (Casus Circus)

THE LORD MAYOR’S AWARD FOR BEST NEW AUSTRALIAN WORK: WINNER

A new musical that explores the astonishing true story of a group of women who try to sign up for army service in World War One but are soundly rejected and told to, “Go home and sit still”. Thankfully, the women have other ideas. Incorporating live music and a narrative that traverses the gamut of the human condition, this is a finely nuanced work that follows a year that changes their lives forever. Dealing with themes of inclusion, freedom, power and commitment, this work uses a combination of compelling storytelling and original musical composition to explore a story of contemporary relevance.

SHORTLIST

La Silhouette, Sui Ensemble

When The World Was Wide, Tama Matheson

Reagan Kelly, Lewis Treston

BEST SET DESIGN: WINNER

This tightly crafted, swiftly moving production needed a flexible, inventive and workable set to facilitate the rapid-fire storytelling. The result was a delightful design that not only met all practical requirements and levels of excellence but, in its seamless execution, also perfectly matched the production’s witty, sharp and clever style. Facilitating the surprising and hilarious twists of the production, the design brought to life Roald Dahl’s beloved stories, serving the text and tight ensemble of 4 actors, in equal measure.

SHORTLIST

Caroline Delore, When the World was Wide(Camerata and QPAC)

Josh McIntosh, Jane Eyre (Shake & Stir and QPAC)

Josh McIntosh, Fantastic Mr Fox (Shake & Stir and QPAC)

BEST COSTUME DESIGN: WINNER

Libby McDonnell, Orpheus and Eurydice(Opera Queensland and Circa)

In Orpheus and Eurydice, Libby McDonnell and the costume team at Opera Queensland created some of the most stunning costumes this year on Queensland’s stages. The bold, graphic styling combined with exquisite cutting created a striking aesthetic that would be very much at home on the best international stages and linger long in the audience’s memory after seeing the production. As Orpheus and Eurydice took their perilous journey home, we were treated to exquisite detail and variation in costuming that served both the singers and the circus performers alike, combining harmoniously to create an exceptional whole.

SHORTLIST

Leah Shelton, Bitch on Heat(Leah Shelton at Brisbane Festival)

Josh McIntosh, Fantastic Mr Fox(Shake & Stir and QPAC)

Anthony Spinaze, Death of a Salesman (Queensland Theatre)

BEST LIGHTING DESIGN: WINNER

Geoff Squires, Inside Out (Tammy Zarb and Company)

This unsuspecting design was executed sensitively in response to its site, transforming found spaces imaginatively whilst respecting the eccentricities of the architecture. Geoff made very effective use of simple tools and excellent design choices, appropriating existing lighting fixtures alongside theatrical interventions in order to sculpt the environment. In this promenade work, the bold use of lighting contributed indispensably to the sense of enchantment and discovery felt by the audience.

SHORTLIST

Tom Wright, Tectonic(Dancenorth at Bleach*)

Ben Hughes, L’Appartement (Queensland Theatre)

David Walters, Net of Souls (The Boxties and QPAC)

BEST VIDEO DESIGN: WINNER

Video design excellence is positioned front and centre in this visually decadent production, using animation to drive the distinct theatrical style and staging. With this elaborately interactive design, Craig Wilkinson has cemented his reputation as a master of projector spectacle, demonstrating the magical theatricality of his illusory virtual worlds. Jon Weber’s illustrated environments here create the perfect play space for these larger-than-life characters to breathe, and for this much-loved classic to find its purpose on stage.

BEST SOUND DESIGN/COMPOSITION: WINNER

This design involved a very high degree of difficulty, bringing to life the sound environment for a B-grade Thriller, viewed from within the safety of your own car. With a soundtrack heard through your car radio, this production excellently captured all the nuance, originality and detail of live-action drive-in theatre. Sound effects and voiceover were incorporated impeccably, bringing to life what begins as one man’s love song to his Volvo but turns deadly as the zombies inflict mayhem and disorder, running riot through the outdoor site.

SHORTLIST

BACKSTAGE AWARD: WINNER

Tanya Malouf

A fixture of the Queensland performing arts community, Tanya has demonstrated excellence in her long career as a stage manager, company manager, and project coordinator. While recognising her incredible body of work, Tanya was especially nominated for her tireless efforts in her role as Tour Producer with ArTour in 2019, demonstrating patience, persistence and professionalism in all she does behind the scenes to secure multi-location national tours for Queensland artists.

EMERGING FEMALE ARTS LEADER AWARD: WINNER

Emily Wells

Emily Wells is an impressive young woman who is stepping into a leadership space as a First Nations producer across disciplines. Already contributing significantly to the sector and demonstrating curiosity and enthusiasm to continue to learn and expand her skills and networks, Emily is ready to embrace the mentoring opportunities offered by the Emerging Female Arts Leader Award.

2018 MATILDA AWARDS

STILL Brisbane theatre’s night of nights. Perhaps Paul Bishop said it best: the importance of the Matilda Awards is that we come together not to celebrate brands, but to celebrate our stories as humans.

The new judges deemed the following stories and storytellers the winners. Congrats to all!

2018 GOLD MATILDA AWARD

Debase Productions
This special, open award recognises either a standout production or performance element in the year’s theatrical season or, in this instance, recognition of an individual company or group for their contribution to the industry as determined by the judging panel. DeBase are being recognised this year for their commitment to making theatre of excellence in Queensland for over 20 years, touring nationally and internationally, focusing on the use of comedy to address social issues in a way that is in tune with their target audience.

INAUGURAL EMERGING FEMALE LEADER AWARD

Christine FelminghamAnnounced at the 2017 Matilda Awards Ceremony, this award is sponsored by the Brisbane Women Arts Leadership Group with a cash prize of $1000, provided by the sponsors of the award. The Brisbane Women Arts Leadership Group will work with the recipient of the award to develop a 12 month program of mentoring and development that is specific to the recipient’s needs and goals. The Program could include one-on-one mentoring with an Arts Leader, networking opportunities through invitations to opening nights and other industry events and professional development.

The Lord Mayor’s Award for Best New Australian Work

Crunch Time – Counterpilot

Including works from all performance categories, this is a very competitive category and this year is awarded to an outstanding new work that pushes the boundaries of what contemporary theatre is or can be. A transmedia performance work, sitting in the world of immersive theatre, Crunch Time places its full trust in the hands of the audience, combining intricately complex interactive digital design, with a guest chef from a public position, to set the scene for a performative dinner party designed to model the processes of democracy while providing the audience with a uniquely immersive theatrical event

Best Video Design

Craig Wilkinson – A Christmas Carol

An original and captivating video design that incorporated new video forms, staging magical gestures that were both theatrical and cinematic to impeccably support the aesthetic of the production. Craig’s design enchanted audiences with its spectacle, but only ever to serve the wonder of the story being told.

Best Lighting Design

David Walters – Nearer the Gods

In a production that that deals with both human foibles and the mysteries of the star-studded universe, David Walters’s original design displayed exquisite lighting artistry, providing moments that transported us beyond the characters’ earthbound realities, giving the audience evocative glimpses of the cosmic enormities that grounded the story.

Best Sound Design/Composition

Babushka – Happily Ever After

Babushka, in collaboration with Luke Volker, created an impressive sound aesthetic that incorporated blind-siding arrangements of a combination of original composition and existing works, utilising exquisite vocal harmonies and live music to deliver a darkly seductive and wickedly theatrical score.

Best Costume Design

Penny Challen – The Owl and the Pussycat

From a Surfers Paradise beach as part of the Gold Coast Commonwealth Games Festival 2018 to a season at Flowstate and then on tour, the costume design for this work needed to be flexible and pack a visual punch. And that’s precisely what Penny Challen succeeded in doing. A visual feast, within an innovative contemporary context, the costume design provided seamless dramaturgical support for the work, with each costume displaying an impressive attention to detail and providing a vibrant and precise expression of the characters within their pea-green world.

Best Set Design

Josh McIntosh – A Christmas Carol

For inventive use of scale, theatrically realising a shifting cityscape that brought a vivid liveliness to this world. Josh’s modular design enabled a dynamic relationship between the characters and their environment, where the whole world seemed to open up and close in on its inhabitants as the story unfolded. This outstanding scenic design created a highly adaptive space that traversed numerous locations and technical requirements in a way that clearly evoked the environment of Ebenezer Scrooge’s world, while giving the artists a space within which to explore and create.

Best Director

Natano Fa’anana and Bridget Boyle – We Live Here

To the excellent directing team of Natano Fa’anana & Bridget Boyle, for their elegant and nuanced direction, and sensitive, funny, yet hard-hitting sharing of the story of the people of Hummingbird house. These directors worked collaboratively to create an incredibly strong visual narrative that seamlessly combined forms of circus and recorded narration to portray real stories. The result of their attention to detail was a compelling and unforgettable theatrical experience.

Best Female Actor in a Supporting Role

Andrea Moor – Hedda

Andrea Moor was barely recognizable in her standout portrayal of Aunt Julia Tesman, completely embodying the bogan matriarch, skilfully bringing both humour and heart in this layered and nuanced supporting performance. This outstanding work solidifies Andrea’s place as one of Queensland’s theatrical treasures.

Best Male Actor in a Supporting Role

Jackson McGovern – The Owl and the Pussycat

Jackson found gravity, balance, humanity and humour in an eclectic array of larger-than-life characters including a turkey, a pig, a bear and a moon. In a challenging breadth of roles, the skill of the performer shone through to create many memorable and standout moments that expertly supported the storytelling.

Best Female Actor in a Leading Role

Noni Hazlehurst – Mother

In a solo work written specifically for her, Noni gave an outstanding performance, giving voice to Christie, a lost, fallen and ultimately dispossessed woman existing on the fringes of society. Through her nuanced portrayal, we were able to connect with the humanity of this beautifully wrought character, and perhaps reflect on our own.

Best Male Actor in a Leading Role

Paul Bishop – Poison

For his compelling and unflinching portrayal of a father faced with life after the death of his son and the breakdown of his marriage, Paul Bishop brought the depth and breadth of his experience as one of Queensland’s most experienced actors to this work, presenting an intimately moving performance that captured the complexity of loss as both particular and universal. With Paul’s embodiment, the sticky details of this character’s backstory open up to accommodate our own grief and heartaches.

Bille Brown Award – Best Emerging Artist

Carly Skelton – The Hatpin

In the early stages of her professional career, Carly is being acknowledged for her portrayal of Harriet Piper, clearly meeting the professional requirements of the challenge. Carly displayed a solid skill base within a fully realised character journey replete with inventive choices and excellent comic timing that was skilfully coupled with vulnerability and empathy.

Best Circus or Physical Theatre Work

We Live Here – Flipside and Metro Arts

A unique collaboration of physical theatre, circus and recorded verbatim stories, this intricately nuanced production utilised a strong ensemble, excellent skills base, transformative design, stunning direction and detailed, touching performances to deliver an impossible-to-forget story about life in the face of death. For many, this work offered one of those divine experiences in the theatre – where an inexplicable moment in time and space lands with such emotional resonance that it transcends all language as a way of connecting us to each other.

Best Independent Production

The Sound of a Finished Kiss – Now Look Here and Electric Moon

In a strong year of independent work, The Sound of a Finished Kiss was considered the best overall independent production because of the unique nature of the musical work, the execution of the production, the degree of difficulty and uniqueness inherent in the original concept and the way in which all elements of the production came together to create an innovative theatrical experience of the indie musical reimagined for Queensland audiences.

Best Musical or Cabaret

The Sound of a Finished Kiss – Now Look Here and Electric Moon in partnership with Brisbane Powerhouse

The indie musical reimagined for Queensland audiences, this compelling story of love, loss, betrayal and share-housing was explored in an inventive work inspired by the songs of The Go-Betweens. Using four singers, a live band and eleven songs from this iconic Brisbane band, The Sound of a Finished Kiss proved to be a powerful coming-of-age story that cut across genres and generations.

This award is shared between two exceptional productions this year. Prize Fighter is recognised for the further development that has refined it into a powerful theatrical work of excellence. The urgent heart of this production explores the compelling story of a Congolese refugee, haunted by his past as a child soldier, as he fights to build a future in Brisbane.

The Longest Minute is acknowledged as an excellent collaboration between Jute, Debase & Queensland Theatre, fully immersing a diverse audience in the world of sport & theatre. By capturing attention through a uniquely local premise, this play sneaks up on us to explore underlying social, cultural and gender themes within its compelling story.

All elements of both productions were consistently outstanding and worked harmoniously to deliver theatre of excellence.

I’m a bit behind the eight ball but I think it’s important to post here, albeit a little late, the winners of The Groundlings, Queensland’s only people’s choice awards for Queensland-made theatre. Thanks to Kate Foy and actorsgreenroom.net y’all had the chance to nominate and vote for your favourite productions from last year. Did you nominate? Did you vote? The facts and figures to come out of the wash up are fascinating. Check them out here.

Are there any surprises here for you? Better make sure you get your vote in next time! And next up?

Best Musical Theatre Production: Rumour Has It: Sixty Minutes Inside Adele Devised and Produced by Adam Brunes and Naomi Price

Outstanding Contribution to Queensland theatre: shake and stir theatre company

for its contribution to theatre education for young people

Don’t you just love to get a glimpse inside someone else’s head? Here it is, for the first time in four years, the Ed’s Choice –

PERFORMANCE BY AN ACTRESS:Barbara LowingBea Pontivec in The China Incident.

In a year notable for some thrilling performances by women, I found it hard to choose but finally it is Ms Lowing’s extraordinary creation of Bea Pontivec that gets my pick. I noted at the time it was “… a tour de force by an artist at the top of her game.” I still think this.

PERFORMANCE BY AN ACTOR:Julian Curtis
The Gentleman Caller in The Glass Menagerie at La Boite Theatre

Not one of the big roles in this or in other plays during the year but in one of the classic supporting and absolutely pivotal roles in modern drama Mr Curtis gave a “relaxed, pitch-perfect performance,” giving sense and substance to a character often passed over in Williams’ play.

DIRECTION:Caroline Dunphy for Motherland.

Shaping a new play, one with multiple characters and casting, and a narrative that crosses temporal and spatial planes in a confined space – surely more than enough of a challenge for a director – but Ms Dunphy’s secure grasp of the shape and tone of the text was also superbly translated on to the tiny stage at Metro Arts.

Best Emerging Artist:

Commendations are awarded to the most outstanding nominee in each of these ten categories. Five main Matilda Awards are also awarded to the ‘best-of-the-best’ of Brisbane theatre in 2012. These will be unknown until the night of the ceremony.

What did you see in 2012? Remember, you can nominate your favourite artists for Groundling Awards until January 31st!

Wow! A quick note about The Matilda Awards before we all get back to making theatre!

Well, while there was no red carpet and the dress code appeared to be “whatever” but what a great night The Matilda Awards turned out to be! Without the conventional design elements of an “event” night until we took our seats (and my astronomically high expectations only come from working with White House Celebrations so, you know, I have Min’s number if anybody wants it…), last night was a fabulous evening of networking, champagne and celebration!

So many Matilda Virgins present at The Judith Wright Centre (that includes Sam and I)! We, along with many others, didn’t quite know what to expect from Brisbane’s night of nights for the Theatrearti: The Matilda Awards, established 25 years ago by reviewers, Alison Cotes and Sue Gough.

Having withstood their fair share of criticism over the years, the Matilda Awards committee (Sue Gough, Alison Cotes, Rosemary Walker, Bree Hadley, Troy Ollerenshaw, Baz McAlister, Olivia Stewart & James Harper), this year appear to have pleased the vast majority of Industry peeps. As far as award systems go, we have the critics/committee’s choice (The Matilda Awards) and we have the people’s choice (The Groundlings). Perhaps it’s important to keep them separate. Perhaps its important that they are Brisbanecentric. The Matilda website now reflects that “The awards are to reward the best of Brisbane theatre…” whereas previously, they alluded to the recognition of Queensland-wide work even when they didn’t (and couldn’t possibly). Even I, being based on the Sunshine Coast and seeing as much as possible on the Sunshine Coast, see more Brisbane theatre than in my own “regional” – for that’s what we are – area. There is simply more of it. So there’s no denying that Brisbane is the cultural hub of Queensland, despite the terrific things that may be happening, from time to time, all over the state. Time to get over it a little or… if you can’t beat ’em, join ’em (for the Brisbane Theatrearti are indeed, a truly delightful bunch)!

The Groundlings offer no trophy or cash prize; they are an online award system that gives artists due recognition from the voting public. And while The Matilda Awards have, in the past, offered a monetary prize (as Paul Bishop joked last night, the sum of $2000 made up a large percentage of an actor’s wages in those days…and probably still does), the awards for this year came in the form of hand-made trophies donated by Monte Lupo – “outsider” artists – along with a great deal of reverence.

This year, for the first time, artists with 3 or more Matilda Awards were inducted into the Hall of Fame and we saw the full list of winners since 1988, together on screen; all the names of the artists who have shaped our industry since the inception of the Matildas. I think, for some, this was a wonderful revelation. And to share the space with these artists was, for most, a humbling experience. It was fitting to have John Batchelor, well-respected for his contributions to the industry, announce the awards.

If you weren’t there, you won’t have felt the over riding sense of humility and collective pride, which was almost bursting at the seams, even before the official part to the evening’s proceedings started, hosted by Hayden Spencer and perfectly, hilariously punctuated by his sassy wife, Carita Farrar and accompanist, John Rodgers. Talented ACPA students opened the show with a beautiful, stirring dance piece and Emma Dean closed it, with her sensational, stylish rendition of Cabaret. If this is what Brisbane’s Industry Night turns up, I say let’s have more of them! And is it just me or have we (and by we, I mean the virgins and regular attendees collectively) outgrown the foyer space in the Judy? We love you and your style, JWCOCA but if there are any more of us intending to attend next year’s event, you’re gonna’ need a bigger bar!

Congratulations to Rosemary Walker, the committee and the Judith Wright Centre for a fabulous evening of celebration of our industry and our art. So proud to be a teeny, tiny part of it!